I had heard about a place, kept secret, where obscure things were happening.
A building visibly abandoned, intrigued me as I took the beltway, Porte de la Villette: The Mausoleum

After a first failed attempt, I came back with another photographer. We discovered that a door leading to the abandoned supermarket’s basements. Armed with a torchlight and a camera, the visit could begin. The exploration took place floor by floor, from parking lots to open spaces. We zigzagged around the murals, the installations, the disappeared squatters traces.

The skeleton of a scorched Vw-Golf 3 caught my attention, mine was black, parked not too far from here, when I came out, I had a flat tire, a screw… coincidence? The Mausoleum’s spirits? Who knows!

One doesn’t walk out the same from such a place, rich with sensations, depressing yet beautiful at the same time. A supermarket, symbol of our evicted
consumers society, emptied of all its goods then taken over by those who couldn’t go there…

Fleeting living space, looking for new tenants, free visit but for how long?

Last post of the series. Its elsewhere that the Mausoleum’s memory lives. In a concrete loft were fragments of the temple are pieced together. Matter in hand and fresh paint specially for the occasion. The book as a bonus. Full frontal, a small stroll with a hand held camera.

For his ‘Street Vitrine’ project, Come MP asks graffiti writers, most of which he’s never met, to draw on small cardboard store shutters he then places in urban environment models he builds himself. After over a year and a half of work, he has already built about 15 of these models in collaboration with artists like Bom.k, Gris1, Tilt, Réso, Poné, Hobz of the Trbdsgn, Darkelixir… He’s currently putting together a first exhibition in Caen, France, to show them in january 2013. He then wishes to expand his collection and organize a second show in Paris also in 2013.

A year ago, Come sent me one of these wooden small scale shutters, which I sent him back six months later, right after the release of the Mausoleum project. Then no news for months… until he sent over the following pictures. During 40 long hours, spread on a two week period, Come meticulously created a small scale model of the Mausoleum, using cardboard, recycled plastic, a potato string bag, branches, milliput paste, acrylic paint, gouache and poscas. For his 32″ by 18″ by 5″ model to be as close as possible to reality, Come used the pictures pages 17 and 151 of the book, edited by the Editions Alternatives. Since he didn’t know Keag and Sore, he chose not to reproduce their paintings…

My first contact happened on the web, with the few images announcing the project.
Following came the movie, mixing syncopated visuals to delicate music.
Finally, meeting the project’s instigators finished to spark my curiosity: I had to go visit this place.
The next week-end, I then found myself with a friend, climbing and wandering from one room to the other.
The second I stepped back outside, my eyes screwed up by the sun, i had only one idea in mind… to come back!
Flash forward to a week later, i was back inside, on my own this time.
I had a strong urge to expose film, silver film could only go well with such a spot, left silent for years and brought back to life thanks to the devotion of a small group of enthousiasts.
Immersed in this half light, cradled by the muffled sound of the freeways and the streets, the whole morning rushed by, without a notice.
This spot is beyond anything I’ve seen in the past, beyond industrial ruin, beyond graffiti, beyond contemporary art. For me, it’s one of the strongest artistic experience I’ve had these last ten years.
Here’s a selection of pictures from these two visits.

Message: For Lek and Sowat, hoping that this message will reach you directly.

I’ve just finished reading ‘Mausoleum’ – my boyfriend, a hip-hop fan, just received it for his birthday. Surprise: A book talking about a supermarket and migrant populations i know (too) well…

At the 23rd of the Commanderie Boulevard, a few meters away from the temple, lies the CEDRE’S prefab. It’s one of Caritas France centers, dedicated to migrants and refugees. The Center mostly helps with administrative processing to obtain French residency, it is not a shelter. It also offers french and computer classes as well as other activities.

During three years, I supervised there a theater and puppet workshop for adults from all over the world. Being myself an immigrant’s daughter, I’ve lived an extraordinarily rich human experience with them.

Before it was shut down (around early 2008 if my memory is correct), we would go with my students in the supermarket to get the material we needed too build puppets and theater accessories. Every once in a while we would also buy things to improvise a snack or a meal. We knew the guys from security: most of the time, when my students went there on their own, they wouldn’t let them in. When we went there together, there never was a problem. It made us laugh.

As everyone knows, living conditions for people seeking french asylum greatly downgraded during our former president’s term. As helpers, the difficult question of finding rooms in housing shelter, was at the core of all our worries. Each month, their number decreased. Some of my students didn’t even want to tell me where they managed to sleep…

I met these destinies, mostly men, groping their way into the darkness, fleeting shadows, unbearable pains, unthinkable life stories. Some finally obtained their green cards, got married, had children. Others disappeared, became insane or committed suicide.

I saw in your book a fascinating artistic endeavor, a scream of outrage but also a tribute to all those who spent, if only a night, on those fucking mattresses lying amidst the parking’s floor.

I was touched knowing that you’ve transformer this place, that you made it your own, for yourself, for them, for your readers.

So thank you, a huge thank you et maybe we’ll see each other one day – today, we live in Lille. There’s no shortage of work here, for writers that love painting in industrial ruins!

Vitostreet has passionately been covering graffiti and street art in the Parisian area for years. Whenever something interesting is done in the capital, you can be sure he’ll spot it and post it before anyone else on his Flickr account. A few days after we unveiled the Mausoleum project, he sent us a few pictures and the following email:

“I’ve often had the occasion of discovering “spots” taken over by graffiti artists, but I’ve rarely (if ever) been slapped to the face like I was while visiting the Mausoleum. I just wanted to thank you and congratulate you (Sowat) and Lek, as well as all the other artists who took part in the project, for the work you’ve done. A high quality and beautiful work of research, conception and innovation.”

A small anecdote:

Publicnme and me were in such a haste that we didn’t really pay attention to the path we followed while entering the supermarket. We should have because 5 hours later, once our visit was over we simply couldn’t find our way out anymore. We spent a good hour searching for the damn hole we’d used to enter the building. An hour can seem short, but when you are in total darkness with only a small torchlight whose intensity diminishes with each passing minute, it can really become stressful…

Alëxone watched too many Beastie Boys videos. After spending years looking for an affordable fish-eye, he finally found this 8mm Peleng on the internet for a cool 230 dollars. Two weeks after ordering it, he received a package from Belorussia wish his precious lens wrapped in Russian newspaper and thread. As a service, he agreed to come to the Mausoleum’s show a second time to take more pix of the installation we put together with Dem189, Swiz, Philipe Baudelocque, Mr Qui, Hobz and Honda from the TurboDesign, Seb174, Legz, Sirius and Saten. All the objects, letters and documents shown here were taken from inside the Mausoleum.

Man – Art is Life is way more patient than we are. All the mural joiners we never had the time or the courage to do, he did them, even the walls we painted in the darkest corners of the building. Here are some of the joiners and photographic collages he brought back from the Mausoleum.

Towards the end of the project, we decided to take a break before painting the building’s roof. For three months, we stopped going to the abandoned supermarket. When we returned, we discovered that a few writers had found the access inside the buildings as we discovered the tags and murals left behind them by Sinje, More, Rayoz, Manta and Ecraze. Luckilly, they had chosen to respect the spot…

One evening of February 2011, Space Invader took this picture of Lek and me as we were exiting the Mausoleum. Back then, he didn’t know who we were and therefor had no idea what we’d been secretly doing inside that building for months. At the precise moment he took that shot, we were only two stangers for him, stuck in his camera’s lense. The night before, he had pasted on the abandoned supermarket his signature UFO’s with red,orange and blue mosaic tiles. As always, he had chose a strategic location, targeting one of the building’s exterior walls facing a perpetually busy freeway ramp. He was absolutely right. Everyone would drive by it and see it. Without knowing it, he had just endangered our ‘project’.

From the beginning, our biggest fear was to see the spot fall, that other writers or photographs could find it and destroy or spread what we were preparing inside.
After Keag and Sore from the RAW crew, Invader was the second uninvited guest to do something on the building’s facade, hence making it more ‘visible’ to eyes used to looking for that type of place… With each new day, it was becoming more urgent for us to finish whatever it is that we had started.

The next day, when he came back to take pictures of his mosaic, we bumped into him as we were leaving the Mausoleum. Lek knew him for having met years before at one of Seb174 friend’s party near Bastille. Invader didn’t recognize him though and didn’t seem to appreciate that two strangers, coming out of nowhere, could call him by his stage name in the middle of the street, in front of everybody. Slightly defensive, he told us he wasn’t Space Invader but his assistant and that he was here just to take pictures… Both skeptical and amused, we shortly ended up leaving him alone and woke our separate ways. For months, we laughed when reminiscing of the encounter, hesitating to mention it in our book. As if he was one of our guests, we added his name to the movie’s final credits.

Two weeks after the Mausoleum’s exhibition opening, Invader’s news book, The Invasion of Paris 2.0, came out. In it, he documents the final stages of his Parisian invasion, thanks to 1400 pictures.Page 58-59, as he is photographing his 911th Invader pasted on the capital’s walls, two strangers are walking in his direction. In the top right side of the image, he added the following text:

“PA_911 / Burning 911
I spotted this rather out of the way spot when leaving the beltway. The Space Invader going up in flames went well with the apocalyptic look of the place, so i put it there. A few days later, when logging it in my database, I realised it was PA_911

We don’t know Sabine Danzé. We’ve never met her. A few weeks ago,she went inside the Mausoleum with a friend. Together, they shot a vidéo of Sabine, lit by a torchlight, as she’s dancing and painting in the dark. Here’s what the filmmaker had to say about her film:

A place destined to destruction, hijacked during 2 years by 40 graffiti artists, guided by Sowat and Lek, the initiator’s of the project, of the work and for the most part, i could even say of the installations. I had to check it out for myself and I brought Sabine Danzé along, who ‘took’ a wall… A mix of pictures and vidéo to show you the works of Art and Sabine Danzé as she ‘Works’… enjoy

Though no one had touched it since we’d discovered it, one freezing night of January 2011, they charged by surprised with gallons of acrylic paint, spray-cans and all the energy of their abstract vandalism. Unaware of what we had been doing inside for months, they smeared part of the buildings facade with explosions of paint, drips, letters and words. Since they were from one of Lek’s crew, it’s a bit like if he had invited them…’

In 2010 Lek discovers an abandoned supermarket condemned to demolition. This spot with no tag at all is a godsend and leads to the “Mausolée” project.

The Mausoleum at the time of ‘Immaculate Conception’ – Photo : ClickClaker

Lek & Sowat are the first to invest this place, situated very next to Paris, with some other fellow writers. Very soon they both have the idea to turn it into an artistic illegal residence inside which some graffiti artists and photographers (40 painters for 40,000 m²) will be invited to play a part in the evolution of what will become the “Mausoleum”.

A few months later, a gorgeous book is released (Editions Alternatives), and the secret that was kept so well during all this time is brought to light.

The choice of a French editor was symbolical, says Sowat : « The project took place in Paris, with French artists, in a building which was squatted and cleared out by the police, so in a way it reflected a French social, political and human drama. The traces of life we found inside, the writings on the walls, the abandoned letters and schoolbooks were mostly in French. There was no sense for us to try to convince a foreign editor. As we already knew Alternatives as we worked with them for previous books, we knew they were not the kind of editor to lay a hand on the contents to the detriment of the project”.

Coming out of a meeting at the end of October 2011 with Charlotte Gallimard, Head of Alternatives, things went very fast. After non-stop work, the book was published 6 months later.

The FatCap team also wanted to visit this playground to share with you what can be considered as an authentic underground museum.